Category Archives: Editing
598 articles found
Cameras were tearing through 35mm scope, 35mm VistaVision and 65mm (five-perf) stock, and super-high-speed footage was being captured with cameras from Vision Research (Phantom digital cameras) and Photo-Sonics (35mm flat film). As usual with Nolan's projects, the film did not get digital dailies or go through a digital intermediate. Film & Video got on the phone with editor Lee Smith and additional editor John Lee to learn about a workflow that mixes the best of digital and analog technologies.
F&V took a look inside post-production on Predators by talking to editor Dan Zimmerman and re-recording mixer/dialogue editor Brad Engleking about living up to Robert Rodriguez's mantra - at Troublemaker, filmmaking takes place "at the speed of thought."
If you're an editor who uses Adobe After Effects then you've probably been faced with this question: How do you get your footage, easily and without a lot of wasted time, into AE for further post? There's always the option of just working with a single clip in After Effects or importing a single clip at a time to build a new compin After Effects. But that can be a very tedious task, to say the least, for a large, complex edit.
As an early user of CineForm's Neo3D editing workflow, Don Wilson was one of the guinea pigs who helped CineForm make Apple's Final Cut Pro stereo-friendly. F&V talked to him about his career, his stereo workflow, and why he thinks cutting concerts in 3D is actually easier.
This tutorial, created to showcase a number of new clips from Artbeats, will show you some of the techniques we used here in the Energi Design studio on a recent title design for a foreign documentary called L’automne à Paris.
Film & Video asked JC Bond, additional editor on Alice in Wonderland, about the challenge of managing massive quantities of footage, and found out why Alice might look ever so slightly different depending on where you see it.
Before production began on new seasons of ABC's Supernanny, Bravo's Real Housewives of New York, and CMT's World's Strictest Parents, Catalyst Post got production company Shed Media US up to speed with a flotilla of new Avid DX and Unity systems.